 "Dear Heather " | 2008-09-25 |
| - Reviewed By rangers88 |
| Dear Heather being Cohens 2004 recording is a splendid record. Cohen was 70 at the time and his vocal skills have certainly not suffered. He sings with the same strength and vigor as he did in days of yore. The lyrics are as good as ever. The book-let is a really strange one. There are numerous drawings that make no sense whatsoever but I guess I am not that smart that I can figure out what they mean. Sharon Robinson and Cohen have once again collaborated on some of the songs, The Letters, There for you and Go No More A-roving. Cohen is definitely not on a decline as many other reviewers have written. Cohen is as good as he ever was!br / |
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 "Ah- the old days..." | 2008-07-25 |
| - Reviewed By User: AV236FMFI6LJD |
From a tragic LC fan- just saw LC live in London and he was awesome- brought the wisdom and power of age to the old and even older lyrics! But this album lacks any sort of spark at all and is inconsistent in style. He CAN still sing as he showed in London- but doesn't even try in this album.
But then to expect continued creativity at 70+ is maybe too much!
Reading poetry in an album just pisses me off. And actually, that was the one moment when he didn't get rapturous applause at the gig- when he recited poetry for a few minutes.
Still I'll get it out now and then probably...it's not awful, not kinda average. His worst I think. |
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| "Fabulous" | 2007-04-07 |
| - Reviewed By mariah78 |
| Long time fan. I love this album, I hear the songs in my head when I am at work or wherever. Moves me. |
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 "Intriguing, But Certainly Not Classic" | 2007-04-04 |
| - Reviewed By rmusicbob |
| Leonard Cohen's dense, sometimes morbid work can be an acquired taste, whether you're reading his two novels, perusing his several books of poetry, or listening to his albums of mournful, hyper-literate songs. Until now, however, any excursion into Cohen's shadowy world has always been worth the ride. Cohen is too meticulous a craftsman ever to release a truly mediocre album, but "Dear Heather" suffers from a distinct absence of heft. Although they are undeniably well-made, the songs and poems presented here seem to lack importance; none force you, as listener, to live more vividly in the world; none enrich your experience, in the way that early songs such as "Suzanne" and "Famous Blue Raincoat" did. Which is not to say that this album is bad, by any means. But I have been a Cohen fan for nearly thirty years, and this is the only Leonard Cohen record that I have ever found to be--quite frankly--somewhat forgetable. Neophytes would do better to begin with The Songs of Leonard Cohen, or with his bizzare-but-magnificent second novel, Beautiful Losers. |
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| "The Slow Demise of the Ladies' Man" | 2007-01-27 |
| - Reviewed By jdoss_10000 |
It took me quite a few listens to warm up to this CD. Cohen's voice, which has never been strong, seems to have faded to raspy whisper. The backup singers take on a much larger role than any other CD and seem to be required to carry the melody on some songs, while others are spoken word poems. The CD is filled the typical Cohen somberness, but this time delivered with a lack energy. The addition of the live version of "The Tennessee Waltz" with its steel guitars seems out of place compared to the subdued tone of the rest of the album. Highlights of the CD include "Go No More A-Roving," "Because Of," "The Letters," and "Villanelle For Our Time." All-in-all, a mildly disappointing effort from this cultural icon.
Those new to Cohen are better off starting with one of his first four albums-- the "Songs" trilogy and "New Skin for the Old Ceremony." |
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| "magnificient !" | 2007-01-14 |
| - Reviewed By User: A2OZQBPBHHTJT1 |
Despite the few bad reviews I've read, I decided to buy the CD and decide by myself. And I don't regret it. The songs may not be easy to listen, but like any good book or great piece of art are hard to read and understand, if you are willing to get delighted by real music, you'll get it . There's lots of talent on this CD. It made my imagination and philosophies fly, made me cheerful, made me sad. My favorite songs: it;s hard to decide between so many. It brightenly opens with " No more a-roving" which, regardless of not containing Leonard's lyrics, he makes of this poem such a song !!! I love to listen to it while in my deck on a clear full moon night. "Nightingale" lifts up my mood so much and makes me feel so much at home (specially because I live in the mountains/woods) and am a nature/wildlife lover. "The Faith", just soothes my soul and relaxes me so much that takes me floating to the highest cloud, while listening to it watching the sun set on a cold afternoon....But right away I get up and start dancing to the tunes of "Tennessee Waltz, which IS NOT OUT OF TUNE like some reviewer mentioned. Here, Leonard is singing as imitating a "country/folk " singer due to the roots of the song. I love that song too !
In summary: I have to clean my CD, because i had played it over and over, and over and over...and I think it's dirty now...Like they said: "In the repetition you'll find the taste"
Leonard's voice and Anjani's vocals make an amazing contrast. I give this CD a "FIVE" . Some may say because it fits my personality. I love contrast . I like being sad and then happy right after. I like to sooth my soul. I like Leonard Cohen. |
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| "Stick to Composing" | 2007-01-10 |
| - Reviewed By User: A3BFTRNU1EPVYW |
The material on this CD, while not quite as good as some of Cohen's work,
is still of very high quality. Cohen's voice, while never good, is absolutely frightful on this album. It is almost impossible to listen to the CD in one sitting-the strain on the ears is too great. |
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 "Reaping and Reporting" | 2006-06-26 |
| - Reviewed By bobmus19 |
The problem for songwriter-poets is what we expect of them. We seem to think they should live a life of debauchery in order to propel their talent - and allow us to watch as they reap the seeds of its destruction. Leonard Cohen has always toyed with this image, never quite succumbing to it, never quite displaying what he's capable of. What he has given us is a new ethos for performance poetry, i.e. sublimating personality to poetry's innate music.
Now an elder statesman, Cohen is neither afraid of his talent nor afraid to lose it. On this collection he sings the poetry of Lord Byron and Frank Scott and adds a verse to the country music classic, "Tennessee Waltz." He trifles with poetic tropes from unrequited love to nightingales to flowers. Cohen manages humor here through irony, as only a poet can, stopping just short of taking himself seriously.
The poet's life is to dangle willingly from life's apocalyptic edge and report back. Cohen doesn't dangle quite as precariously here as in earlier albums, but he does report with enough spark to make this album a worthy addition to any collection. |
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| "Amazing!" | 2006-01-05 |
| - Reviewed By ep784 |
| This is easily one of Leonard Cohens best albums! The other reviewers as you expect are just old fans that want Leonard to record the same stuff. Face it the album is good. |
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| "Intimacy with Background Vocals" | 2005-05-21 |
| - Reviewed By jlautner |
I liked a few of these songs immediately - "Because of", "The Letters", and "There for you" in particular - because of their spare, simple, and unabashed intimate sexuality. I was put off by others because of what seemed inappropriate overworked productions, particularly the background vocals.
After listening to this CD many times, however, almost all of these pieces have grown on me and I indulge in them as if they were guilty pleasures. That's the thing, to me, about Leonard Cohen: these songs are for me alone, so intimate, so vulnerable, that I feel a rush of pleasure every time I hear them. The power of this vulnerability cannot be overstated and it is to be wondered at in a man who has reached his seventies. That he would deliberately choose to stay so open and raw all these years (we may wonder about the monastery years - they may have been necessary to protect such fragility) may be why he can write so beautifully and sing - even when he isn't actually singing but is simply talking - with such power and meaning.
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